Hobart Bosworth
Actor · Died December 30, 1943, aged 76 · Marietta, Ohio, USA
Hobart Bosworth--pioneering movie director, writer, producer and actor--was born Hobart Van Zandt Bosworth on August 11, 1867, in Marietta, OH. He was a direct descendant of Miles Standish and John and Priscilla Alden on his father's side and of New York's Van Zandt family, the first Dutch settlers to land in the New World, on his mother's side. Bosworth was always proud of his lineage. After his mother died his father remarried and the young Hobart took a dislike to his stepmother. Convinced that he was "ill used and cruelly treated," as he told an interviewer in 1914, he ran away from home for to New York City. He signed on as a cabin boy on the clipper ship "Sovereign of the Seas" and was soon out at sea. After his first voyage, a five-month affair that took him from New York to San Francisco, he spent his wages on candy. Sleeping it off on a bench in the park in back of Trinity Church, the young boy did not know that the organ music he was listening to as he dozed was being played by his very own uncle. A Captain Roberts, who found stevedore work for the lad, told him of his uncle's presence in San Francisco. He continued as a sailor, as the sea was in his family's blood, eventually spending three years at sea. "All my people were of the sea and my father was a naval officer," he told an interviewer. He spent 11 months on an old-fashioned whaler plying the Arctic region, then was employed doing odd jobs in San Francisco. After turns as a semi-professional boxer and wrestler, Bosworth tried ranching in Southern California and Mexico, where he learned to become an expert horseman. Finally, his interest in art led him to the stage. Thinking he'd like to become a landscape painter, a friend suggested that Bosworth work as a stage manager to raise the money to study art. Acting on his friend's advice, Bosworth obtained a job with McKee Rankin as a stage manager at the California Theatre in San Francisco. With the money he made, he undertook the study of painting. Eventually he was pressed into duty as an actor with a small part with three lines. Though he botched the lines, he was given other small roles. Bosworth was 18 years old and on the cusp of a life in the theater. He signed on with Louis Morrison to be part of a road company for a season as both an actor and as Morrison's dresser, playing William Shakespeare's "Cymbeline" and "Measure for Measure" (during his time with the company, Hobarth and another writer wrote a version of "Faust" that Morrison used for 20 years in repertory). By 1887 he was acting at the Alcazar Theatre in San Francisco, and became proficient enough on stage to give Shakespearean recitals in costume the following year. He had acted almost all of the famous characters in the Shakespearean canon by the time he was 21 years old, though he admitted that he was the worst Macbeth ever. Bosworth eventually wound up in Park City, UT, where he was forced to work in a mine, pushing an ore wagon in order to raise money. He escaped the pits to tour with magician Hermann the Great as the conjurer's assistant for a tour through Mexico. For the first time in eleven years, the 21-year-old Bosworth met his father. Hobarth recalled, "[H]e looked at me and said 'Hum! I couldn't lick you now, son.'" They never met again. Bosworth arrived back in New York in December 1888, and was hired by Augustin Daly to play Charles the Wrestler in "As You Like It." He did so well in the role that Daly kept him on. Bosworth remained with Daly's company for 10 years, in which he played mostly minor parts. Seven times while he was with the company it made foreign tours, playing in Berlin, Cologne, London, Paris and other European cities. Eventually, being kept in small parts eroded his confidence, and Bosworth left Daly to sign on with Julia Marlowe, who cast him in leads in Shakespearean plays. Just as Bosworth began to taste stage stardom in New York, he was struck down with tuberculosis, a very serious ailment in the 19th century. Bosworth was forced to give up the stage, as he was not allowed to toil indoors. Though he made a rapid recovery, he returned to the stage too quickly and suffered a relapse. For the rest of his working life he had to balance his acting with periods of rest so as to keep his T.B. under control. Bosworth re-established himself as a lead actor on the New York stage, appearing opposite the famous actress Minnie Maddern Fiske (Mary Augusta Davey) in the 1903 Boradway revival of Henrik Ibsen's "Hedda Gabler." He also appeared that year on the Great White Way as the lead in "Marta of the Lowlands," which was produced by Harrison Grey Fiske, Mrs. Fiske's husband. The role propelled him to Broadway stardom. However, he was forced again to give up the stage when he lost 70 pounds in ten weeks. Moving to Tempe, AZ, to partake of the salubrious climate improved his chances of battling T.B., and eventually he got the disease under control. While he was not actually an invalid, he was forced to live like one and remain in a warm climate lest he suffer a relapse. The T.B. robbed him of his voice, but since he was no longer on stage, it didn't matter. There was a new medium for actors: motion pictures. Bosworth moved to San Diego, which had a reputation of having the most perfect climate in the continental United States, and in 1908 was contracted to make a film by the Selig Polyscope Co. Shooting was to be down in the outdoors, and he did not have to use his voice, which was in a poor condition. The arrangement was perfect for him. "I believe, after all, that it is the motion pictures that have saved my life," he recounted less than a decade later. "How could I have lived on and on, without being able to carry out any of my cherished ambitions? What would my life have meant? Here, in pictures, I am realizing my biggest hopes." Signing with Selig, Bosworth eventually spearheaded the movie company's move to Los Angeles. He is widely credited with being the star of the first movie made on the West Coast. Due to his role in pioneering California for the film industry, Bosworth often was referred to as the "Dean of Hollywood." He wrote the scenarios for the second and third pictures he acted in, and directed the third. According to his own count, he eventually wrote 112 scenarios and produced 84 pictures for Selig. Bosworth was attracted to Jack London's work due to his out-of-doors filming experience and the requirements of his health, which obviated acting in studios. "In all my reading I have never come across better material for motion picture plays than Jack London's stories, and I hope to go right through the whole lot." In 1913 he formed his own company, Hobart Bosworth Productions Co., to produce a series of Jack London melodramas. He produced, directed and starred in the company's first picture, playing Wolf Larsen in The Sea Wolf (1913), with London himself appearing as a sailor. The movie was released in the U.S. by W.W. Hodkinson Corp. D.W. Griffith also released a Jack London picture earlier that year, Two Men of the Desert (1913), but Bosworth followed up "The Sea Wolf" with The Chechako (1914), with Jack Conway playing the lead as Smoke Bellew, the title character of the eponymous London novel the movie is based on. "The Chechako" and some of the subsequent Boswoth-London pictures were distributed through Paramount, the releasing arm of Famous Players-Lasky. Conway also starred in the Bosworth-directed follow-up The Valley of the Moon (1914), in which Bosworth had a supporting role. He also appeared as an actor in John Barleycorn (1914), which he co-directed with J. Charles Haydon. He produced, directed, wrote and acted in Martin Eden (1914) and An Odyssey of the North (1914), playing the lead in the latter, which was released by Paramount. He finished up the series by producing, directing and playing the lead in the two-part "Burning Daylight" series: Burning Daylight: The Adventures of 'Burning Daylight' in Alaska (1914) and Burning Daylight: The Adventures of 'Burning Daylight' in Civilization (1914), both of which were released by Paramount. Bosworth hooked up with the Oliver Morosco Photoplay Co., making its Los Angeles facility on North Occidental Boulevard his headquarters. Subsequently Bosworth Inc. and Oliver Morosco Photoplay were absorbed by Paramount in 1916. Between 1913 and 1921 Hobart Bosworth Productions produced a total of 31 pictures, most of which starred Bosworth. The company ceased operations after producing The Sea Lion (1921). The merger with Paramount ended the period in Bosworth's creative life where he was a major force in the motion picture industry, which was undergoing changes as the industry matured and solidified. He directed his last picture even before the merger, The White Scar (1915), which he also wrote and starred in for Universal Film Manufacturing Co. After his own production company wound up, Hobart Bosworth began playing supporting roles as an actor. He divorced his first wife, Adele Farrington, in 1919, the year after their son George was born. He survived the transition to sound. Aside from appearing in Warner Bros.' showcase film Show of Shows (1929), his talking picture debut proper was in the short subject A Man of Peace (1928) for Vitaphone, while his first sound feature was Vitaphone's Ruritania drama General Crack (1929), starring John Barrymore. Though he appeared in small roles in A-list films, including some classics, Bosworth primarily made his living as a prominently billed character actor in "B" westerns and serials churned out by Poverty Row studios. In his roles in A and B pictures, he typically was typecast as a fatherly type, such as dads, clergymen, judges, governors and the like, though occasionally he got to play a heavy. His most memorable roles included playing John Gilbert's father in both King Vidor's classic The Big Parade (1925) and Clarence Brown's A Woman of Affairs (1928), and Conrad Nagel's father in Du Barry, Woman of Passion (1930). He also appeared in the Al Jolson vehicle Mammy (1930), directed by Michael Curtiz, and in the Little Rascals' only feature film, General Spanky (1936) (a flop). In addition to Vidor, Brown and Curtiz, Bosworth worked with other great directors, including Ernst Lubitsch (in support of John Barrymore in Eternal Love (1929)), D.W. Griffith (playing Gen. Robert E. Lee in Abraham Lincoln (1930)), 'Frank Capra' (in Dirigible (1931)) and Lady for a Day (1933)) and John Ford (headlining Hearts of Oak (1924), starring in Hangman's House (1928) and playing the Chaplain in support of Will Rogers in Steamboat Round the Bend (1935)). Bosworth had a featured role in the early science-fiction movie Just Imagine (1930) and played Chingachgook in support of star Harry Carey's Hawkeye in Mascot Pictures' serial The Last of the Mohicans (1932). As the sound era wore on, he was reduced to bit parts, frequently uncredited, in such A-pictures as the W.C. Fields comedy Million Dollar Legs (1932) and the Errol Flynn western They Died with Their Boots On (1941). He kept working until the year before his death, appearing in six films in 1942, including an uncredited bit role as a clergyman in support of Barbara Stanwyck in The Gay Sisters (1942), his penultimate picture. His last film was Universal Pictures' western Sin Town (1942), starring Constance Bennett and Broderick Crawford, which was advertised with the intriguing tagline "The Glory Hole of the Booming Oil Towns!" Altogether, Hobart Bosworth acted in over 250 movies from 1908 to 1942, directed 44 known pictures from 1911 to 1915, and wrote 27 & produced 11 known pictures from 1911 to 1921. His actual count might be hundreds more. Hobart Bosworth, the "Dean of Hollywood," died on December 30, 1943 of pneumonia in Glendale, CA. He was 76 years old. He was survived by his second wife, Cecile, and his son George.
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Biography from IMDb.
- August 9, 1867
- December 30, 1943 (aged 76)
- Marietta, Ohio, USA
- Actor
- 23 on Motif · 159 credits in all
What are Hobart Bosworth's films like?
Across their 15 Motif titles with a thematic analysis, their films lean Morality and Bonds.
Genres
Their Motif films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.
Themes
What they feel like to watch
Ironic 0 · Wry 0 · Earnest 15
Light 6 · Serious 6 · Dark 3
A split, not a type: Grounded 10 · Stylized 5 · Heightened 0
Gentle 3 · Charged 9 · Intense 3
Steady 6 · Shifting 9 · Whiplash 0
A split, not a type: Straight-faced 8 · Some laughs 5 · Funny 2
A split, not a type: Slow burn 8 · Even-paced 7 · Relentless 0
Casual 9 · Engaged 6 · Full focus 0
A split, not a type: Easy watch 6 · Affecting 5 · Heavy 4
Resolved 15 · Open-ended 0 · Ambiguous 0
Roles they play
Usually the Threshold guardian: 3 of 8 analyzed roles.
Show the 8 rolesHide the roles
- Allyas Gen. La Hire in Joan the Woman (1916)
- Threshold guardianas Mr. Apperson in The Big Parade (1925)
- Mentoras Lord Justice O'Brien in Hangman's House (1928)
- Threshold guardianas Lord Justice O'Brien in Hangman's House (1928)
- Threshold guardianas Sir Morton Holderness in A Woman of Affairs (1928)
- Heraldas Louis Rondelle in Dirigible (1931)
- Mentoras Uncle Hank in King of the Sierras (1938)
- Mentoras Davis in Law of the Tropics (1941)
Moods and endings
- Happy6
- Bittersweet8
- Tragic1
AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.
Where can I watch Hobart Bosworth's films?
As of October 24, 2026, 8 of their 23 Motif titles stream on a subscription or free service, most on Tubi (6).
Subscription and free streaming for Hobart Bosworth's titles on Motif; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.
Filmography
159 credits, 23 with a Motif page; 3 appearances as themselves are hidden until asked for.
Sin Town (not in the Motif catalog yet)(1942)
The Gay Sisters(1942)
Midcredits score: 67th percentile of all films
I Was Framed (not in the Motif catalog yet)(1942)
Bullet Scars (not in the Motif catalog yet)(1942)
Wild Bill Hickok Rides(1942)
Midcredits score: 39th percentile of all films
Midcredits score: 86th percentile of all films
One Foot in Heaven(1941)
Midcredits score: 64th percentile of all films
Law of the Tropics(1941)
Midcredits score: 37th percentile of all films
Bullets for O'Hara (not in the Motif catalog yet)(1941)
King of the Sierras(1938)
Midcredits score: 7th percentile of all films (provisional, few ratings)
Rollin' Plains(1938)
Midcredits score: 13th percentile of all films
The Secret of Treasure Island (not in the Motif catalog yet)(1938)
Portia on Trial (not in the Motif catalog yet)(1937)
General Spanky (not in the Motif catalog yet)(1936)
Wildcat Trooper (not in the Motif catalog yet)(1936)
Wolves of the Sea (not in the Motif catalog yet)(1936)
The Dark Hour (not in the Motif catalog yet)(1936)
Steamboat Round the Bend(1935)
Midcredits score: 79th percentile of all films
Hollywood Extra Girl (not in the Motif catalog yet)(1935)
The Crusades(1935)
Midcredits score: 62nd percentile of all films
Together We Live (not in the Motif catalog yet)(1935)
The Keeper of the Bees (not in the Motif catalog yet)(1935)
Music in the Air(1934)
Midcredits score: 63rd percentile of all films
Whom the Gods Destroy (not in the Motif catalog yet)(1934)
Lady for a Day(1933)
Midcredits score: 89th percentile of all films
The Phantom Express (not in the Motif catalog yet)(1932)
Million Dollar Legs (not in the Motif catalog yet)(1932)
No Greater Love (not in the Motif catalog yet)(1932)
The Last of the Mohicans (not in the Motif catalog yet)(1932)
The Miracle Man (not in the Motif catalog yet)(1932)
The County Fair (not in the Motif catalog yet)(1932)
Carnival Boat (not in the Motif catalog yet)(1932)
Fanny Foley Herself (not in the Motif catalog yet)(1931)
This Modern Age(1931)
Midcredits score: 32nd percentile of all films
Shipmates (not in the Motif catalog yet)(1931)
Sit Tight (not in the Motif catalog yet)(1931)
Dirigible(1931)
Midcredits score: 53rd percentile of all films
Just Imagine (not in the Motif catalog yet)(1930)
The Third Alarm (not in the Motif catalog yet)(1930)
Abraham Lincoln(1930)
Midcredits score: 33rd percentile of all films
Du Barry, Woman of Passion (not in the Motif catalog yet)(1930)
The Office Wife (not in the Motif catalog yet)(1930)
The Devil's Holiday(1930)
Midcredits score: 39th percentile of all films
Mammy (not in the Motif catalog yet)(1930)
General Crack (not in the Motif catalog yet)(1929)
Show of Shows(1929)
Midcredits score: 41st percentile of all films
Hurricane (not in the Motif catalog yet)(1929)
Eternal Love (not in the Motif catalog yet)(1929)
A Woman of Affairs(1928)
Midcredits score: 83rd percentile of all films
The Sawdust Paradise (not in the Motif catalog yet)(1928)
Hangman's House(1928)
Midcredits score: 63rd percentile of all films
After the Storm (not in the Motif catalog yet)(1928)
The Smart Set(1928)
Midcredits score: 70th percentile of all films
Freckles (not in the Motif catalog yet)(1928)
My Best Girl (not in the Motif catalog yet)(1927)
The Chinese Parrot (not in the Motif catalog yet)(1927)
The Blood Ship (not in the Motif catalog yet)(1927)
Annie Laurie (not in the Motif catalog yet)(1927)
Three Hours (not in the Motif catalog yet)(1927)
Spangles (not in the Motif catalog yet)(1926)
The Nervous Wreck (not in the Motif catalog yet)(1926)
The Far Cry (not in the Motif catalog yet)(1926)
The Golden Strain (not in the Motif catalog yet)(1925)
The Big Parade(1925)
Midcredits score: 95th percentile of all films
The Half-Way Girl (not in the Motif catalog yet)(1925)
Winds of Chance (not in the Motif catalog yet)(1925)
Chickie (not in the Motif catalog yet)(1925)
Zander the Great (not in the Motif catalog yet)(1925)
My Son (not in the Motif catalog yet)(1925)
If I Marry Again (not in the Motif catalog yet)(1925)
Sundown (not in the Motif catalog yet)(1924)
Hearts of Oak (not in the Motif catalog yet)(1924)
The Silent Watcher (not in the Motif catalog yet)(1924)
Hello, 'Frisco (not in the Motif catalog yet)(1924)
Captain January (not in the Motif catalog yet)(1924)
The Woman on the Jury (not in the Motif catalog yet)(1924)
Nellie, the Beautiful Cloak Model (not in the Motif catalog yet)(1924)
Name the Man (not in the Motif catalog yet)(1924)
Through the Dark (not in the Motif catalog yet)(1924)
The Man Life Passed By (not in the Motif catalog yet)(1923)
In the Palace of the King (not in the Motif catalog yet)(1923)
The Eternal Three (not in the Motif catalog yet)(1923)
The Common Law (not in the Motif catalog yet)(1923)
Rupert of Hentzau (not in the Motif catalog yet)(1923)
Little Church Around the Corner (not in the Motif catalog yet)(1923)
Vanity Fair (not in the Motif catalog yet)(1923)
The Strangers' Banquet (not in the Motif catalog yet)(1922)
White Hands (not in the Motif catalog yet)(1922)
The Sea Lion (not in the Motif catalog yet)(1921)
Blind Hearts (not in the Motif catalog yet)(1921)
The Cup of Life (not in the Motif catalog yet)(1921)
The Foolish Matrons (not in the Motif catalog yet)(1921)
A Thousand to One (not in the Motif catalog yet)(1920)
The Brute Master (not in the Motif catalog yet)(1920)
His Own Law (not in the Motif catalog yet)(1920)
Below the Surface (not in the Motif catalog yet)(1920)
Behind the Door (not in the Motif catalog yet)(1919)
The Border Legion (not in the Motif catalog yet)(1918)
The Devil Stone (not in the Motif catalog yet)(1917)
The Woman God Forgot (not in the Motif catalog yet)(1917)
What Money Can't Buy (not in the Motif catalog yet)(1917)
The Little American(1917)
Midcredits score: 66th percentile of all films
The Inner Shrine (not in the Motif catalog yet)(1917)
Unconquered (not in the Motif catalog yet)(1917)
Freckles (not in the Motif catalog yet)(1917)
A Mormon Maid (not in the Motif catalog yet)(1917)
Joan the Woman(1916)
Midcredits score: 51st percentile of all films
Oliver Twist (not in the Motif catalog yet)(1916)
The Way of the World (not in the Motif catalog yet)(1916)
The Iron Hand (not in the Motif catalog yet)(1916)
Doctor Neighbor (not in the Motif catalog yet)(1916)
Two Men of Sandy Bar (not in the Motif catalog yet)(1916)
The Yaqui (not in the Motif catalog yet)(1916)
The Target (not in the Motif catalog yet)(1916)
The White Scar (not in the Motif catalog yet)(1915)
Colorado (not in the Motif catalog yet)(1915)
Fatherhood (not in the Motif catalog yet)(1915)
Business Is Business (not in the Motif catalog yet)(1915)
A Little Brother of the Rich (not in the Motif catalog yet)(1915)
Nearly a Lady (not in the Motif catalog yet)(1915)
The Scarlet Sin (not in the Motif catalog yet)(1915)
The Wild Olive (not in the Motif catalog yet)(1915)
Betty in Search of a Thrill (not in the Motif catalog yet)(1915)
Pretty Mrs. Smith (not in the Motif catalog yet)(1915)
The Caprices of Kitty (not in the Motif catalog yet)(1915)
Buckshot John (not in the Motif catalog yet)(1915)
The Beachcomber (not in the Motif catalog yet)(1915)
The Chechako (not in the Motif catalog yet)(1914)
The Country Mouse (not in the Motif catalog yet)(1914)
The Pursuit of the Phantom (not in the Motif catalog yet)(1914)
Burning Daylight: The Adventures of 'Burning Daylight' in Alaska (not in the Motif catalog yet)(1914)
An Odyssey of the North (not in the Motif catalog yet)(1914)
Martin Eden (not in the Motif catalog yet)(1914)
The Valley of the Moon (not in the Motif catalog yet)(1914)
John Barleycorn (not in the Motif catalog yet)(1914)
The Sea Wolf (not in the Motif catalog yet)(1913)
Alas! Poor Yorick! (not in the Motif catalog yet)(1913)
Pierre of the North (not in the Motif catalog yet)(1913)
Greater Wealth (not in the Motif catalog yet)(1913)
The Awakening (not in the Motif catalog yet)(1912)
Monte Cristo (not in the Motif catalog yet)(1912)
The Hand of Fate; or The Mysterious Blonde (not in the Motif catalog yet)(1912)
The Mate of the Alden Bessie (not in the Motif catalog yet)(1912)
The Maid at the Helm (not in the Motif catalog yet)(1911)
A Frontier Girl's Courage (not in the Motif catalog yet)(1911)
Blackbeard (not in the Motif catalog yet)(1911)
Lost and Won (not in the Motif catalog yet)(1911)
In Old California When the Gringos Came (not in the Motif catalog yet)(1911)
The Eye of Conscience (not in the Motif catalog yet)(1911)
Justinian and Theodora (not in the Motif catalog yet)(1910)
The Sanitarium(1910)
Midcredits score: 21st percentile of all films (provisional, few ratings)
The Sergeant (not in the Motif catalog yet)(1910)
The Common Enemy (not in the Motif catalog yet)(1910)
The Wonderful Wizard of Oz (not in the Motif catalog yet)(1910)
The Courtship of Miles Standish (not in the Motif catalog yet)(1910)
Briton and Boer (not in the Motif catalog yet)(1909)
In the Sultan's Power (not in the Motif catalog yet)(1909)
Dr. Jekyll and Mr. Hyde (not in the Motif catalog yet)(1908)
The Count of Monte Cristo (not in the Motif catalog yet)(1908)
Career shape
Star power in the 88th percentile of 239,109 people with a billed film role, over a full career of 159 titles from 1908 to 1942.
Film career
Top draw in 1 Motif title.
- 1910Screen debut· The Wonderful Wizard of Oz
- 1910First top-billed film· The Wonderful Wizard of Oz
Billing
Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on Motif, shown from 5 scored. Billing is TMDB cast order for roles with 25+ votes, billed in the top 30.
How do Hobart Bosworth's films land?
Their typical Motif film has a Midcredits score in the 62nd percentile, the median of all 23; across their 15 films with reception data, the typical film sits in the 52nd percentile for acclaim.
- 75th and up5
- 50th to 74th9
- 25th to 49th6
- Below 25th3
Shape of the crowd
10 of their 23 titles are Crowd Pleasers.
- Universally Loved1
- Cult Classic1
- Crowd Pleaser10
- Broadly Agreed1
- Mixed10
Reviewers score the acting 68/100 in their films, across 13 reviewed titles; fans 76, detractors 47. The element that speaks to their work as an actor.
Percentiles are each film's standing among all films on Motif; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their Motif titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.
Who does Hobart Bosworth work with?
People who share at least 2 of Hobart Bosworth's Motif titles, grouped by what they did on them; Raymond Hatton shares the most, 3.
Directors
- John FordShared titles: Steamboat Round the Bend (1935), Hangman's House (1928)See all 2 shared titles with John Ford
- Cecil B. DeMilleShared titles: The Little American (1917), Joan the Woman (1916)See all 2 shared titles with Cecil B. DeMille
Writers
- Jeanie MacphersonShared titles: The Little American (1917), Joan the Woman (1916)See all 2 shared titles with Jeanie Macpherson
Actors
- Raymond HattonShared titles: Steamboat Round the Bend (1935), The Little American (1917), Joan the Woman (1916)See all 3 shared titles with Raymond Hatton
- Jack HoltShared titles: Dirigible (1931), The Smart Set (1928), The Little American (1917)See all 3 shared titles with Jack Holt
- Roger ImhofShared titles: Steamboat Round the Bend (1935), Music in the Air (1934)See all 2 shared titles with Roger Imhof
- John GilbertShared titles: A Woman of Affairs (1928), The Big Parade (1925)See all 2 shared titles with John Gilbert
Composers, cinematographers and editors
- George SchneidermanShared titles: Steamboat Round the Bend (1935), Hangman's House (1928)See all 2 shared titles with George Schneiderman
- Carl DavisShared titles: A Woman of Affairs (1928), The Big Parade (1925)See all 2 shared titles with Carl Davis
- Hugh WynnShared titles: A Woman of Affairs (1928), The Big Parade (1925)See all 2 shared titles with Hugh Wynn
- William AxtShared titles: A Woman of Affairs (1928), The Big Parade (1925)See all 2 shared titles with William Axt